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I think it was when I got to the butterflies -- in that brief, beautiful image comprising life, death and technology -- that the hair on the back of my neck began to stand on end. All at once, the pleasure I took in reading was altered irrevocably. Before then I had never noticed, somehow, that stories were made not of ideas or exciting twists of plot but of language. And not merely of pretty words and neat turns of phrase, but of systems of imagery, strategies of metaphor.
--
Close Encounters, Washington Post (April 7, 2002)
--
On reading Rocket Man by Ray Bradbury

 

Michael Chabon

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In this way, a philosophy which veiled the Philistine confessions of its founder beneath neat twists and flourishes of language proceeded further to discover a formula for the canonization of the commonplace. It expatiated upon the rationalism of all reality, and thus ingratiated itself with the Culture-Philistine, who also loves neat twists and flourishes, and who, above all, considers himself real, and regards his reality as the standard of reason for the world. From this time forward he began to allow every one, and even himself, to reflect, to investigate, to aestheticise, and, more particularly, to make poetry, music, and even pictures—not to mention systems of philosophy; provided, of course, that ... no assault were made upon the “reasonable” and the “real”—that is to say, upon the Philistine.

 

Friedrich Nietzsche

 

What special magic does Lafferty offer? The simple answer has always been his use of language. Well what of it — the field has many who can make a phrase sing or sing a phrase that's the thing. The true answer lies in that his stories sound like they're folk tales. Now I said something very precise there. Lafferty doesn't use the language of folktales, and only rarely uses their rhythm. But he lives so well within the langauge of his creation that his language — particularly in the combination of slightly archaic folk speech and outrageous etymologies for his words — sounds like language that some one has said somewhere. Yevgeny Zamyatin developed the concept of a "prose foot" as way of internal pacing of fiction. He saw it as a kind of rhythmic device that by causing the reader to remember an earlier part of the narrative became a force for a choral (as in pertaining to choruses) cohesion that bound the story together in a different way than plot mechanics. This method, which I can't detect in Zamyatin's works (since Russian is Greek to me) is the core of Lafferty's work. He has has invented the post-modern equivalent of the Homeric epithet.

 

R. A. Lafferty

 

A number of proposals have been advanced in recent years for the development of ‘general systems theory’ which, abstracting from properties peculiar to physical, biological, or social systems, would be applicable to all of them. We might well feel that, while the goal is laudable, systems of such diverse kinds could hardly be expected to have any nontrivial properties in common. Metaphor and analogy can be helpful, or they can be misleading. All depends on whether the similarities the metaphor captures are significant or superficial.
It may not be entirely vain, however, to search for common properties among diverse kinds of complex systems... The ideas of feedback and information provide a frame of reference for viewing a wide range of situations, just as do the ideas of evolution, of relativism, of axiomatic method, and of operationalism... hierarchic systems have some common properties that are independent of their specific content...

 

Herbert Simon

 

We sift reality through screens composed of ideas. (And such ideas have their roots in older ideas.) Such idea systems are necessarily limited by language, by the ways we can describe them. That is to say: language cuts the grooves in which our thoughts move. If we seek new validity forms (other laws and other orders) we must step outside language.

 

Frank Herbert

 

A lot of times I looked into the camera and said, 'Too pretty.' We changed the lighting and hair. You know, she was hired originally in the town as a beautiful girl, but she's learned how to act. She's an actress of unlimited range. She works incredibly hard — the body language, the hair, the voice. She's not bothered by movie star stuff — whether she has a rug in her trailer or not. She doesn't care.

 

Michelle Pfeiffer